![\"ULTREALITH](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen-110_cover.jpg\" "\\"ULTREALITH")
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ULTREALITH | ARTIFICIAL MEMORY TRACE<\/a><\/strong><\/p>\n Gruen 110 | Audio CD > [order<\/a>]<\/p>\n Reviews<\/a><\/p>\nngg_shortcode_0_placeholder\n <\/p>\n \u201cUltrealith\u201d is an electro-acoustic sound-adventure exploring sounds that exist on the periphery of human perception, such as underwater recordings (such as fish-songs, crustaceans etc), ultrasounds (sonar of bats and dolphins, insects), electromagnetic signals and other textures. These recordings were sourced in the Amazonian rainforest, Africa, Canadian Newfoundland, northern Australia and in various parts of Europe.<\/p>\n <\/p>\n 1. Meadow<\/p>\n MP3<\/a> MP3<\/a> MP3<\/a> MP3<\/a> <\/p>\n 8 Tracks (77\u203258\u2033) <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n trk1. Meadow [for Paul Coenjaarts] 13:42 | site-based sound-installation composed for „Klanken Verbeeld Beelden Verklankt“ festival in Eijsden, Limburg, Holland (Intro\/In Situ) in Sept. 2000. An extract from this piece was published on \u201cObservatori 2000\u201d CD-compilation by Subterfuge Records, Spain.<\/p>\n <\/p>\n trk2. Expirations 10:54 | based on sounds of insects (1994, northeastern Czechie) & various frogs (Rana ridibunda – May 1993, Wormer, Holland; Bombina bombina – June 1994, Dobruska, Czechie; Alytes obstetricans – Aug.1995 Belgium). Composed Oct.1998, Belgium. Released on \u201cSelflow Comp. [EarOuvres]\u201d by Ooze Bap, Spain (2002).<\/p>\n <\/p>\n Subaquantum Ultrealith 44:25 | 4-channel composition exploring sounds that exist on the periphery of human perception, such as ultrasonic sounds of bats, underwater songs of fish, insects and other creatures. Experimenting with different ways of creating a multidimensional experience; emphasis on synaesthesia. Composed in Oct 2009.<\/p>\n <\/p>\n trk3. Insectin 11:31 | Created mainly from sounds of cicadas, leaf-hoppers and other insects rec. in Mamori, Amazonas, Brazil (2008) [Thanks to Francisco Lopez for kind support] and sounds of reef and mysterious nocturnal birds rec. in Zanzibar, Tanzania, Africa (2001). Basic underlying structure was generated from 30 sec sound-sample provided by Linda O\u2019Keeffe as part of a paralel collaboration project.<\/p>\n <\/p>\n trk4. Micro & Macro Bats 10:10 | Based on sounds of bats: transposed ultrasonic hunting and social calls of microbats rec. in Ireland (West Cork, Meath, Leitrim – 2008), Australia (2009), Brazilian Amazon (2007-2009); calls of macrobats rec. in Kitumu caves in western Kenya, Africa (2000) and flying foxes from Northern Territory, Australia (2006). This section includes electromagnetic audio-imprints rec. in the airplane and car (2009).<\/p>\n <\/p>\n trk5. Monochrome [1] 2:02| (1995) 64 tracks of the same voice – Tao [for John Cage]<\/p>\n <\/p>\n trk6. Podvodou 12:53 | based mainly on underwater recordings such as various soniferous fish, subaquatic insects and waters of Amazon in Xixuau Xiparina & Mamori, Brazil; crustaceans from seas of Newfoundland in Canada and coral reef from northern Australia; Amazon river-dolphins Inia geoffrensis and sea-dolphins Delphinus delphis from Cape Clear in Ireland. Includes various transpositions of ultrasonic sonar and other sounds. Original underwater recordings were collected between 2007-2009.<\/p>\n <\/p>\n trk7. Monochrome [2] 7:47 | 60 tracks of improvised songs of \u201d2EZ\u201d (rec. in psychiatric unit in St. Brendans Hospital [Dublin, Ireland] during sound workshops 2008-2009; used with permission of the client) and chorus of Leaf-Toads (Xixuau Xiparina, Amazonas 2008). Includes human din rec. in coffee-shop in Singapore (2006); inside metro in Perth, Australia (2009) and other sounds.<\/p>\n <\/p>\n trk 8. PetRadio 8:55 | 2003, radio-piece for Aether Festival in Albuquerque, USA; based on rec. of domestic pets (as canaries, parrots, cats), radio crackling interferences and other sounds [for Steve Peters].<\/p>\n <\/p>\n <\/p>\n This collection was assembled and composed by Slavek Kwi | Artificial Memory Trace (1995-2009) | www.artificialmemorytrace.com<\/a> | Photos (2007-09) & Design (2012): S.Kwi | Xixuau Xiparina: page 1 (beetle), 6 (Surinam Toad Pipa pipa), 7, CD (Leaf-Toad), inlay inside | Mamori: 2, 4 (Bats), 5 (Termites), 8, inlay out-back | Elcho Island, Arnhemland, Australia: 3<\/p>\n <\/p>\n Soundscape Series by Gruenrekorder<\/p>\n Germany \/ 2012 \/ Gruen 110 \/ LC 09488 \/ IMRO \/ EAN: 4050486069547<\/p>\n <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Josh Landry | Musique Machine<\/a><\/strong> <\/p>\n The first track „Meadow“ is perhaps the most involving piece here, centering around a rhythmically rotating tone, glimmering and glinting in waves of magnetic interference, most likely sourced from sonar.\u00a0 Behind this tone there are distant rumbles of water, and after a few minutes, birds, many birds, and with them they bring the energy of an unthreatening daytime environment, though the same eerie magnetic tone persists.<\/p>\n <\/p>\n There are some gestural elements, in which a sudden click or similarly sharp and succint sound will herald the entrance of recordings of a new location, or briefly introduce a morphed and slurred voice for a half a second before disappearing once more.\u00a0 This sort use of aggressive use of digital processing lends a menacing intentionality to the structure of the otherwise benign environments recorded.<\/p>\n <\/p>\n The pacing of the album is very slow, with many minutes of virtually uneventful near-silence.\u00a0 Removed from easy association with their original meanings in the world, the sounds in the recordings start to take on an otherworldly quality.\u00a0 This sort of thing is not for the impatient, but there are certainly some interesting sounds that pop up here and there, such as the crisp, metallic buzz of live power lines, the somehow granulated lapping of water, and a myriad chittering of bugs in the second track „Expirations – Subaquantum Ultrealith“.\u00a0 This 10 minute track ends with the laughing, over-zealous asymmetrical rattles of unfamiliar tropical toads.<\/p>\n <\/p>\n The third track „Insectin“, another 10 minute opus, continues the theme of tropical, life rich sound environments.\u00a0 Flute-like bird calls and a magickal blanket of frogs croaking are joined by some generative sample splicing, gradually shuffling rustling contact sounds into an assembled rhythm out of stuttering repetitious subdivisions. The howl of the wind becomes louder, and the digital glitch effects multiply in density, only to drop away into an eerie calm, which is occasionally interrupted by strange grunts of distortion and slimy, babbling liquid sounds which evoke the image of a slope eroding and beginning to avalanche.<\/p>\n <\/p>\n „Macro & Micro Bats“ is another amazing understated epic, which focuses around some bubbling and crumbling synthetic distortion which almost sounds animal at first, then skitters and jumps in clearly unnatural rhythm.\u00a0 Some eerie muffled synth tones periodically and sluggishly blink soft colors.\u00a0 Up until this point the album has been a remarkably immersive journey, without any wasted space and a deeply mysterious, subtlely sinister feeling about it.<\/p>\n <\/p>\n The only misstep to me is the inclusion of the „Monochrome“ tracks, which are largely comprised of speaking voices uttering various poetic phrases.\u00a0 The layering is so dense that few words are discernable, and in the case of „Monochrome 1“, the voices speak without affect, and the texture of the track is ultimately bland.\u00a0 Luckily, this one is short.\u00a0 The 2nd in the series is much longer, and attempts to incorporate a mournful improvisatory acoustic guitar and some lamenting, drunken singing, but the mix once again becomes so dense a din of voices as to let no structure or texture emerge.\u00a0 At 7:48, this becomes very tedious, and makes the album much harder to listen to for me.\u00a0 The field recording side of the band’s music is much more interesting.<\/p>\n <\/p>\n This album is very difficult to listen to all at once, yet simultaneously is full of profundity.\u00a0 Though Artificial Memory Trace cares nothing for being concise and there a couple of dud tracks with „Monochrome“ 1 + 2, it would be a shame for any fan of field recordings to miss out on the detailed insectoid worlds captured and meticulously arranged on „Ultrealith“.<\/p>\n link<\/p>\n <\/a><\/p>\n <\/p>\n Curt Cuisine | skug – Journal f\u00fcr Musik<\/a><\/strong><\/p>\n Die Zikade, Teil 7, Kapitel 1: Merke! Wo Gruenrekorder drauf steht, sind field recordings drin. Kapitel 2: Hinter dem Namen Artificial Memory Trace verbirgt sich der nach Irland ausgewanderte Tscheche Slavek Kwi. Kwi begann als visual artist, interessierte sich aber mehr und mehr die Elektroakustik und nat\u00fcrliche Sounds. Kapitel 3: \u00bbUltrealith\u00ab vereint beide Prinzipien. Naturger\u00e4usche, aufgenommen am Amazonas, in Australien, in Kanada etc., wurden teilweise pur verwendet, teilweise mit naturfremden Soundsamples gemischt (man sagt \u00bbassembled\u00ab dazu), und nat\u00fcrlich entsprechend arrangiert (man sagt \u00bbkomponieren\u00ab dazu). Kapitel 4: Der fast unaussprechliche Titel der CD sagt somit alles, die Naturger\u00e4usche auf \u00bbUltrealith\u00ab sind so ultra real, dass sie im Grunde das genaue Gegenteil davon sind. Kapitel 5: Kwi ist ein Fan von John Cage, ein St\u00fcck ist dem Meister direkt gewidmet. Tats\u00e4chlich erinnern die kargen, zur\u00fcckgenommenen Elektronatursoundcollage mitunter an die sp\u00e4ten, stoischen Cage-St\u00fccke. Kapitel 6: Das Booklet zeigt Zikaden, Fr\u00f6sche, Flederm\u00e4use und ein Mikrofonkabel, das direkt in ein Termitennest f\u00fchrt. Kapitel 7: Wo Gruenrekorder drauf steht, sind field recordings drin. Merke!<\/p>\n link<\/a><\/p>\n <\/p>\n Pierre C\u00e9cile | Le son du grisli<\/a><\/strong> <\/p>\n Port\u00e9 par un int\u00e9r\u00eat pour le dauphin d\u2019eau douce (ainsi ai-je appris l\u2019existence des dauphins d\u2019eau douce), voil\u00e0 Kwi parti pour le Br\u00e9sil pour en revenir\u00a0 avec Boto [Encantado]. Avec les chants qu\u2019il a recueillis des b\u00eates, il construit une histoire. Me voici invit\u00e9 \u00e0 entrer dans un paisible zoo o\u00f9 les animaux crient barrissent roucoulent puis dirig\u00e9 dans une grotte sombre. La grotte est longue et regorge de pr\u00e9sences et, qui s\u2019y frotte s\u2019y pique, le moindre effleurement est une menace. La voix du dauphin a \u00e9t\u00e9 modifi\u00e9e et n\u2019est qu\u2019un des \u00e9l\u00e9ments d\u2019une dark ambient qui n\u2019est pas piqu\u00e9e des vers (ou des hannetons, au choix).<\/p>\n <\/p>\n Oui, ce genre d\u2019hannetons qu\u2019on aurait pu croiser sur la pochette d\u2019Ultrealith, o\u00f9 Artificial Memory Trace joue avec des enregistrements de bruits du monde entier, normalement difficiles \u00e0 capter. Tous dans la m\u00eame bo\u00eete, ils participent d\u2019une musique \u00e9lectroacoustique o\u00f9 l\u2019aquatique a aussi son \u00ab mot \u00e0 dire \u00bb. Pour avoir nourri ces sons \u00e0 une heure indus, Kwi ne peut que constater leur m\u00e9tamorphose : du monde muet il a fait un fort en gueule \u00e0 maxi-t\u00eate (de chauve-souris, d\u2019insectes, etc.). C\u2019est effrayant mais nous savons tous que ce genre de monstre n\u2019existe pas. \u00d4 qu’il est d\u2019autant plus beau \u00e0 entendre !<\/p>\n link<\/a><\/p>\n <\/p>\n Darby Mullins | DARBY’S CHRONICS<\/a><\/strong> <\/p>\n The sound speaks better than words; but …. <\/p>\n ANGUS CARYLE<\/a> & RUPERT COX<\/a> | AIR PRESSURE<\/a> <\/p>\n ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a> <\/p>\n DAVID MICHAEL<\/a> | THE SLAUGHTERHOUSE<\/a> <\/p>\n IAIN ARMSTRONG<\/a> | SACRED & PROFANE<\/a> link<\/a><\/p>\n <\/p>\n Denis Boyer | FEARDROP<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Guillermo Escudero | Loop<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong><\/p>\n […] Cage also appears in Ultrealith. This being the name Slavek Kwi gives to his collection of \u2019electroacoustic sound paintings\u2019 as recorded under his Artificial Memory Trace moniker. Cage appears on track five, a two minute piece entitled \u2018Monochrome [1]\u2019 in which multi tracked loops of Cage\u2019s voice produce a dizzying babble of voices with just the odd snippet of clarity revealing a certain phrase or a single word.<\/p>\n <\/p>\n Cage would no doubt have approved highly in the way Kwi mixes the sounds of insects as found in several different countries to make one unique sound. Or the way, in the space of one track, he takes a recording of an inmate of a lunatic asylum strumming an acoustic guitar and singing, a game of table tennis, the Perth Metro, a coffee shop in Singapore and some leaf toads in the Amazon. It may look like a bit of an had hoc chucked together misshapen mess on paper but the results are stunning, its like Reynols got it together with Francisco Lopez.<\/p>\n <\/p>\n There\u2019s plenty to admire here. I am in awe. In the hypnotic 13 minute opener \u2018Meadow [for Paul Coenjaarts]\u2019 you\u2019ll hear a pleasantly burbling stream, a straight to the center of the brain bowl ring, bird chatter, random ticking, a female voice that says \u2018what do you think?\u2019 and a low hertz industrial throb that appears and then slowly disappears. \u2018Insectin\u2019 contains the sounds of insects recorded in the Amazon, nocturnal birds from Zanzibar beneath which lies some fine electroacoustic crackle. These are sounds that caress the ear, some recorded underwater, some existing on the very edge of human hearing.<\/p>\n <\/p>\n My only regret [and I think I\u2019ve voiced this before with Gruenrekorder releases] is that I don\u2019t have the reproduction equipment to match the quality of these recordings. These are some of the most vibrant, exotic and delightful sounds I\u2019ve come across in many a year. I sincerely hope that one day I come across one of Kwi\u2019s installations. I shall walk and listen in open wonder at his fine achievements.<\/p>\n link<\/a><\/p>\n <\/p>\n maeror3 | livejournal<\/a><\/strong> <\/p>\n \u0425\u043e\u0440\u043e\u0448\u0438\u0435 \u043d\u0430\u0443\u0448\u043d\u0438\u043a\u0438 \u0438 \u0443\u043f\u0430\u0441\u0438 \u0431\u043e\u0436\u0435 \u043e\u0442 MP3 \u2013 \u0432\u043e\u0442 \u0445\u043e\u0440\u043e\u0448\u0438\u0435 \u043d\u0430\u0441\u0442\u0430\u0432\u043b\u0435\u043d\u0438\u044f \u0434\u043b\u044f \u0442\u0435\u0445, \u043a\u0442\u043e \u0433\u043e\u0442\u043e\u0432 \u043f\u043e\u0433\u0440\u0443\u0437\u0438\u0442\u044c\u0441\u044f \u0432 \u043c\u0438\u0440 \u00abArtificial Memory Trace\u00bb. \u041d\u0430 \u00abUltrealith\u00bb \u043e\u043d \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u043b\u0435\u043d \u0432\u043e \u0432\u0441\u0435\u0439 \u043a\u0440\u0430\u0441\u0435, \u0438 \u0437\u0434\u0435\u0441\u044c \u043c\u043e\u0436\u043d\u043e \u043f\u043e\u0441\u0435\u0442\u0438\u0442\u044c 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\u043e\u0434\u0438\u043d, \u043d\u043e \u043e\u0447\u0435\u043d\u044c \u0434\u0440\u0430\u043c\u0430\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u043c\u0438\u0433. \u041e\u0434\u043d\u0438\u043c \u0441\u043b\u043e\u0432\u043e\u043c, \u0437\u0434\u0435\u0441\u044c \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e \u0432\u0441\u0435 \u2013 \u0438 \u044d\u0442\u0438\u043c \u043c\u0443\u0437\u044b\u043a\u0430 \u00abArtificial Memory Trace\u00bb \u0438\u043d\u0442\u0435\u0440\u0435\u0441\u043d\u0430 \u0438 \u0446\u0435\u043d\u043d\u0430. \u041d\u0443 \u0438 \u043e \u00ab\u0441\u0442\u0440\u0430\u043d\u043d\u043e\u0441\u0442\u044f\u0445\u00bb – \u0421\u043b\u0430\u0432\u0435\u043a \u043d\u0435 \u0437\u0430\u0431\u044b\u043b \u0438 \u043e \u0447\u0435\u043b\u043e\u0432\u0435\u0447\u0435\u0441\u043a\u043e\u043c \u0433\u043e\u043b\u043e\u0441\u0435. \u0420\u0430\u0437 \u0443\u0436 \u043c\u044b \u2013 \u0447\u0430\u0441\u0442\u044c \u043f\u0440\u0438\u0440\u043e\u0434\u044b, \u0442\u043e \u043f\u0443\u0441\u0442\u044c \u043d\u0430\u0448\u0430 \u0440\u0435\u0447\u044c \u0432\u043b\u0438\u0432\u0430\u0435\u0442\u0441\u044f \u0432 \u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u043e \u043e\u043a\u0440\u0443\u0436\u0430\u044e\u0449\u0435\u0433\u043e \u043c\u0438\u0440\u0430. \u0418 \u043e\u043d\u0430 \u0432\u043b\u0438\u0432\u0430\u0435\u0442\u0441\u044f \u2013 \u0432 \u043f\u0435\u0440\u0432\u043e\u0439 \u0447\u0430\u0441\u0442\u0438 \u00abMonochrome\u00bb 64\u00a0 \u043a\u0443\u0441\u043e\u0447\u043a\u0430 \u0440\u0430\u0437\u043d\u044b\u0445 \u0444\u0440\u0430\u0437 \u0441\u0442\u0430\u043d\u043e\u0432\u044f\u0442\u0441\u044f \u043f\u043e\u0445\u043e\u0436\u0438\u043c\u0438 \u043d\u0430 \u043d\u0430\u0437\u043e\u0439\u043b\u0438\u0432\u043e\u0435 \u0436\u0443\u0436\u0436\u0430\u043d\u0438\u0435 \u0441\u0442\u0430\u0438 \u043c\u0443\u0445, \u0430 \u0432\u0442\u043e\u0440\u0430\u044f \u0447\u0430\u0441\u0442\u044c \u043e\u0442\u043f\u0440\u0430\u0432\u043b\u044f\u0435\u0442 \u043d\u0430 \u044d\u043a\u0441\u043a\u0443\u0440\u0441\u0438\u044e \u0432 \u0441\u0443\u043c\u0430\u0441\u0448\u0435\u0434\u0448\u0438\u0439 \u0434\u043e\u043c, \u043d\u0430\u0433\u043b\u044f\u0434\u043d\u043e \u0434\u0435\u043c\u043e\u043d\u0441\u0442\u0440\u0438\u0440\u0443\u044f \u043f\u043e\u0441\u043b\u0435\u0434\u0441\u0442\u0432\u0438\u044f \u0441\u0438\u0442\u0443\u0430\u0446\u0438\u0438 \u00ab\u043e\u0434\u043d\u0430 \u0433\u0438\u0442\u0430\u0440\u0430 \u0438 \u0446\u0435\u043b\u0430\u044f \u043f\u0430\u043b\u0430\u0442\u0430 \u043f\u0441\u0438\u0445\u043e\u0432, \u043a\u0430\u0436\u0434\u044b\u0439 \u0438\u0437 \u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u043f\u0440\u0435\u0431\u044b\u0432\u0430\u0435\u0442 \u0432 \u0441\u0432\u043e\u0435\u0439 \u0440\u0435\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u0438\u00bb. \u041d\u0430\u0434\u043e \u0437\u0430\u043c\u0435\u0442\u0438\u0442\u044c, \u044d\u0442\u0438 \u0434\u0432\u0435 \u0432\u0435\u0449\u0438 \u043f\u043b\u043e\u0445\u043e \u0438\u0434\u0443\u0442 \u043d\u0430 \u043f\u043e\u0434\u0435\u0440\u0436\u0430\u043d\u0438\u0435 \u043d\u0430\u0448\u0435\u0439 \u0440\u0435\u043f\u0443\u0442\u0430\u0446\u0438\u0438 \u00ab\u0433\u043b\u0430\u0432\u043d\u043e\u0433\u043e \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u0430 \u043d\u0430 \u043f\u043b\u0430\u043d\u0435\u0442\u0435\u00bb, \u0434\u0435\u043b\u044c\u0444\u0438\u043d\u044b \u0438 \u0436\u0443\u0447\u043a\u0438 \u043c\u043e\u0433\u0443\u0442 \u0431\u044b\u0442\u044c \u0433\u043e\u0440\u0430\u0437\u0434\u043e \u0431\u043e\u043b\u0435\u0435 \u0433\u0430\u0440\u043c\u043e\u043d\u0438\u0447\u043d\u044b\u043c\u0438 \u0438 \u0443\u043f\u043e\u0440\u044f\u0434\u043e\u0447\u0435\u043d\u043d\u044b\u043c\u0438 \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u0430\u043c\u0438.<\/p>\n link<\/a><\/p>\n <\/p>\n Brian Olewnick | Just outside<\/a><\/strong><\/p>\n Quite recently, I was having a conversation with a musician of some renown. We were discussing field recordings, the plethora thereof, many of which find there way to my abode. „If I were running things“, he said, „there would be certain sounds you’d simply not be allowed to use: water, birds, traffic sounds, church bells, airplane engines, wind. I’d make it really, really hard to be able to construct a good recording from the field.“ I couldn’t help but take his point. So many come down the pike, so many, after digesting, are all but indistinguishable. Pleasant but innocuous. I’d add something else: that they’re subtly coercive in the sense of taking an environment, one that, were you actually there, you’d have your choice of areas of concentration, etc., and insisting on a certain focus. This happens all the time in „music“, of course, but something about it sits wrongly with me. Exceptions abound, to be sure, especially when the field has become subtly and beautifully transfigured (Pisaro’s „Transparent City“ set comes quickly to mind) but all too often I end up feeling like someone who’s just browsed a friend’s nicely put together and shot photo album. It’s fine, but….<\/p>\n <\/p>\n Forgive me for using these recordings as a springboard for the opinions above (though the label, Gruenrekorder, is certainly one whose releases often occupy this territory); just needed to vent a little.<\/p>\n <\/p>\n „Ultrealith“ falls into that slot of modified field recordings, eight tracks assembled over much of the past couple of decades. Fairly quiet, many insectile and avian sounds, often streaked through by gentle electronics of one kind or another, sometimes soft percussive flurries, occasionally taped voices, but nothing particularly gripping or, as it were, memorable. Some of the works were conceived as installations and, as with many a release in this area, one can at least imagine a more conducive experience being had if one were permitted to walk through the sounds, divert one’s attention as desired, etc. As is, it’s pleasant, tickling your soles a bit, but not so much more.<\/p>\n link<\/a><\/p>\n <\/p>\n Chris Whitehead | The Field Reporter<\/a> <\/p>\n A bell-like tone repeats and tethers \u2018Meadow\u2019, the first track of Slavek Kwi\u2019s \u2018Ultrealith\u2019 CD, firmly to the substrata of field-recording based composition. Gentle flutters or sudden bursts of unidentified noise invade the space, but natural sounds also drift in and remain in the background in various configurations, often before vanishing back forever into the ether. Disarmingly, a woman suddenly asks \u2018what do you think?\u2019 seemingly from part of a phantom broadcast that disappears as soon as it is detected.<\/p>\n <\/p>\n As always with Kwi the feeling that pervades his compositions\u00a0 is a sense of awe at the diversity of nature. Images of rainforest creatures, insects, bats and frogs decorate the book of photographs that comes with \u2018Ultrealith\u2019, and even in the tracks that don\u2019t explicitly harness the rainforest as a source, we still get the feeling that teeming life is all around us.<\/p>\n <\/p>\n \u2018Expirations\u2019 is based on the sounds of insects, and they fly around our ears like airborne motors. The correlation between these creatures and tiny machines is an easy one to make with their hard, evenly contoured exoskeletons, jointed legs and otherworldly eyes. The rapidity of their wing movements and their stridulations are a common motif in this piece, but a host of other sounds are woven into the picture. Birds, water, bangs, cracks, fizzes, whizzes and pops. Bullets! Smashed glass! It joyfully ends with a small frog\u2019s single croak.<\/p>\n <\/p>\n The next 44 minutes belong to a totality called \u2018Subaquantum Ultrealith\u2019. It is broken down into five very different tracks, and as far as I can see, the only glue binding them together is the fact that they were all part of a 4 channel performance project made in 2009.<\/p>\n <\/p>\n Three of the tracks once again draw from Kwi\u2019s nature recordings, and his control of the medium is astonishing. They are threaded through with well positioned incongruity though, just in case we lapse into thinking that these are soundscapes existing out there in reality. Oddly, during \u2018Insectin\u2019 a voice asks \u2018and how does that make you feel?\u2019 a few times in gradually diminishing\u00a0 repetition. How does it make you feel? Well it makes you feel like listening to it again to make sure you heard it right the first time.<\/p>\n <\/p>\n The two remaining\u00a0 tracks that form \u2018Subaquantum Ultrealith\u2019 are conspicuously different in their formal design. \u2018Monochrome 1\u2019 is dedicated to John Cage and consists of 64 recordings of the same voice piled upon each other.\u00a0 It is like listening to sensory overload made audible and is reminiscent of Kraftwerk\u2019s \u2018The News\u2019 from \u2018Radio Activity\u2019. If listened to carefully, as when in a room of chattering people, directing attention to a single voice can yield meaning.<\/p>\n <\/p>\n \u2018Monochrome 2\u2019 is another construct of predominantly human activity. 60 tracks of a man improvising on a guitar coalesce one by one until he is in his own orchestra of clones. A table tennis game is taking place early on. Recordings of crowded places, perhaps a cafe or a tube station. Then frogs. Frogs. Then nothing.<\/p>\n <\/p>\n Finally \u2018Pet Radio\u2019 is a section utilising the sounds of domestic pets, which in a way also celebrates the act of bringing the wildness of nature into our homes. Cats, for instance, are still hunters and killers, however much they curl up in front of the fire purring and mewing. Eerily domestic birds such as canaries and parrots are heard surrounded by silence, implicitly suggesting their removal from their environment. Sleeping cats sound forbidding and machine like, not too many degrees of separation from the growl of a lion. When playing \u2018Ultrealith\u2019 at home our two cats came in during the bird squawks, pricked up their ears and stared at the speakers. Clearly the residual memory built into their DNA of stealthy predation is not so far beneath the surface.<\/p>\n <\/p>\n Beautiful in its construction and realisation, yet not afraid to bowl the odd googly, as we say in England, \u2018Ultrealith\u2019 is a work of intricate composition that no one but Slavek Kwi\u00a0 could conceivably have produced.<\/p>\n link<\/a><\/p>\n <\/p>\n
\n2. Expirations
\n–
\nSubaquantum Ultrealith
\n3. Insectin<\/p>\n
\n4. Macro & Micro Bats
\n5. Monochrome 1<\/p>\n
\n6. Podvodou
\n7. Monochrome 2
\n–<\/p>\n
\n8. PetRadio<\/p>\n
\nCD (500 copies)<\/p>\n
\n
\n
\n„Ultrealith“ is a very lengthy album of field recordings, featuring pleasing color-coded artwork featuring an orange and black winged insect contrasting with a peculiar arrangement of sewing buttons in primary colors.\u00a0 Artificial Memory Trace apparently have a vast back catalogue of releases, dating back to 1994, but I have never heard, nor heard of any of their recordings prior to now.\u00a0 Over the years, their productivity has, if anything, increased: this album is one of at least 8 releases they have put out in 2012.<\/p>\n
\nUn plaidoyer en faveur de la musique tch\u00e8que ? Faut dire : Slavek Kwi nous y invite en exp\u00e9diant d\u2019un coup d\u2019un seul deux r\u00e9cents enregistrements de son Artificial Memory Trace. Une trentaine d\u2019ann\u00e9es qu\u2019il travaille \u00e0 ses enregistrements sur sites \u2013 le temps\u00a0 donc de collaborer avec un autre grand nom du genre, Eric La Casa \u2013, c\u2019est dire si ses efforts m\u00e9ritent d\u2019\u00eatre r\u00e9compens\u00e9s\u2026 par quatre clefs, un diapason d’or ou dix perches tendues et qui forment une \u00e9toile !<\/p>\n
\nGruenrekorder Special Focus…
\nA special focus about the great job of Gruenrekorder. Thanks to artists to doing this.<\/p>\n
\nOne : the sound design was removed of our living space, and we know so well how each new manufactured objects sounds like shit. Is there any escape from the noise ?
\nTwo : the living sounds are removed from the earth, and we also know how each new products of intensive productivity killing life. Is this the sound of silence ?<\/p>\n
\nRecorded in Japan, „air pressure“ it’s a tearing sky by airplane reactors. This project is conducted with great intelligence, and technique quality, put the relationships between sounds scales or how articulate gurgling and air traffic.<\/p>\n
\nIs the sounds that men don’t hear, don’t exist ? From the deaf vibrations taken with some very special microphones (infra\/ultra) Artificial Memory Trace (aka Slavek Kwi) forges a new environment where micro-sounds become the center of the listening.<\/p>\n
\nHigh fidelity ! A sound environment very tiring, where liquids and electricity stand alongside noise of machines, roar of animals…. „Everything have soul, everything“ said the man…..We have the knowledge; and lost the application.<\/p>\n
\nFor closed this short selection, the last release (that I received this morning) seems really appropriate….With the injection of sacred, the sound design is bring at the high level. A point out of what humanity can create and thinking for communicate with itself (dead and alive), gods, and nature. How the sound is thinking for pass through a country, space, or matter. How it can drive different kind of informations (like bells for example).
\nAnother idea could be the thinking of survives and the modifactions of things in time ; like the evolution of the manufacture of the coin : shape, sound, light, and weight.<\/p>\n
\nPeu de musiciens du milieu ont atteint la ma\u00eetrise et l\u2019\u00e9quilibre que montre \u00e0 chacune de ses (trop rares) publications Slavek Kwi alias Artificial Memory Trace. D\u2019un trait de pens\u00e9e, on arrive aux \u0153uvres mod\u00e8les de Francisco L\u00f3pez ou de C\u00e9dric Peyronnet, sans que celles-ci se ressemblent pour autant, pas plus qu\u2019\u00e0 celle de Slavek Kwi. Comme th\u00e8me un lieu ou encore un \u00eatre, un groupe d\u2019\u00eatres, une activit\u00e9, enfin quelque chose qui peut se donner pour image non sonore avant m\u00eame de commencer d\u2019en d\u00e9voiler le chant. Voil\u00e0 comment d\u00e8s l\u2019abord dessiner le plus simplement le champ commun de ces nombreux musiciens du terrain. Et c\u2019est au c\u0153ur de cette m\u00eame image que prend forme le son. Celui-ci, dans ces \u0153uvres raisonn\u00e9es, contrairement \u00e0 celles de field recording pur dont l\u2019int\u00e9r\u00eat ne peut r\u00e9sider dans le recul artistique, doit se trouver r\u00e9organis\u00e9, de main de ma\u00eetre, devenir le mat\u00e9riau d\u2019une nouvelle toile sonore, qui conservera les go\u00fbts, les odeurs, les densit\u00e9s, les humidit\u00e9s que le milieu d\u2019origine portait au moment de la captation, mais redistribu\u00e9s selon l\u2019\u00e9lan et le rythme de l\u2019artiste. C\u2019est une r\u00e9v\u00e9lation, ou encore une r\u00e9-\u00e9levation. Alors, et seulement alors, l\u2019image mentale revient, induite par le trait du musicien, guid\u00e9e par son geste, et port\u00e9e en projet par la sensibilit\u00e9 de l\u2019auditeur. Si les lignes qui pr\u00e9c\u00e8dent semblent se dessiner en plan de manifeste, c\u2019est parce que les disques de Slavek Kwi en sont exemplaires. Boto [Encantado], publi\u00e9 en album vinyle par le label belge ini.itu porte suffisamment les traces de son origine pour que l\u2019on puisse, sans trahir la volont\u00e9 de Slavek Kwi, \u00e9voquer les sons de dauphins qui ont servi de mati\u00e8re premi\u00e8re. L\u2019animal est pr\u00e9sent jusque sur la pochette ; quoi qu\u2019il en soit, les d\u00e9tails des modalit\u00e9s de captation, et surtout l\u2019implication symbolique et mythologique du mammif\u00e8re, sont offerts uniquement \u00e0 ceux des auditeurs qui en auront l\u2019envie (le texte est imprim\u00e9 en reflet invers\u00e9). En cela, la d\u00e9marche absolue rejoint celle de Francisco L\u00f3pez et son v\u0153u d\u2019\u00e9coute transcendantale. Nous n\u2019en dirons donc pas plus que ce qui est \u00e9vident aux yeux et aux oreilles de tous. L\u2019oreille pr\u00e9cis\u00e9ment, qu\u2019entend-elle ici ? Ce sont des tintements, des cr\u00e9pitements, des pouss\u00e9es, plus ou moins aigus, des frottements nasaux, des \u00e9closions aquatiques fortement comprim\u00e9es. Voil\u00e0 pour l\u2019arsenal. La r\u00e9-\u00e9l\u00e9vation de ces sons se fait pr\u00e9cis\u00e9ment dans le sens d\u2019une ascension, fragile car la composition limite les superpositions et le tissage d\u2019harmoniques. La nature courte des sons (ou suppos\u00e9e telle) est respect\u00e9e dans le nouveau treillage. L\u2019eau bien s\u00fbr mais offrant peu de portance, et n\u2019\u00e9tait la pr\u00e9sence trop forte de l\u2019image de pochette, on pourrait croire \u00e0 l\u2019envol insecto\u00efde d\u2019un ballet fragile de sons dans la canop\u00e9e. Pourtant, la couleur, celle que l\u2019on entend, garde bien le filtre de l\u2019eau, le gris et le bleu, pas ou peu d\u2019harmoniques, pas de fontaine de lumi\u00e8re orang\u00e9e, il n\u2019est pas question ici de soleil. On reste ind\u00e9cis sur le milieu et on se laisse alors flotter, ce qu\u2019\u00e0 la fois l\u2019eau et l\u2019air rendent possible, \u00e0 la fois la nageoire et le chant. Faire chanter la mati\u00e8re ce peut donc \u00eatre r\u00e9v\u00e9ler le lieu, l\u2019\u00eatre, l\u2019activit\u00e9, ou encore la taille. En effet, des musiciens de plus en plus nombreux vont mettre au jour ce qui se niche aux fronti\u00e8res de l\u2019audible, ou du visible. Sur Ultrealith, S. Kwi \/ Artificial Memory Trace a r\u00e9uni des pi\u00e8ces dont le commun r\u00e9side dans l\u2019exploration des fronti\u00e8res de l\u2019humainement audible, telles que \u00ab les sons immerg\u00e9s, les ultrasons, les signaux \u00e9lectromagn\u00e9tiques \u00bb. Il ne faut pas imaginer pour autant que l\u2019album se situe lui aussi \u00ab aux fronti\u00e8res du silence \u00bb. Bien au contraire. De la m\u00eame mani\u00e8re que la microscopie r\u00e9v\u00e8le \u00e0 l\u2019\u0153il un monde qu\u2019il n\u2019aurait pu voir nu, de la m\u00eame mani\u00e8re Slavek Kwi rehausse ses sources. Tous ces petits \u00e9l\u00e9ments sonores, mis en sc\u00e8ne comme si l\u2019on pla\u00e7ait dans un vivarium des animalcules que l\u2019on filmerait avec le grossissement adapt\u00e9, Slavek Kwi les a reconstruits en univers inou\u00efs et \u00e9quilibr\u00e9s ; qu\u2019ils aient \u00e9t\u00e9 produits par des insectes, des chauves-souris, des c\u00e9tac\u00e9s, des crapauds\u2026 ils se r\u00e9pondent, en une mani\u00e8re de dialogue chim\u00e9rique, ou encore de construction picturale qui n\u2019aurait d\u2019\u00e9quivalent que les aberrations splendidement \u00e9quilibr\u00e9es de Hieronymus Bosch.<\/p>\n
\nSlavek Kwi is a sound artist, composer and researcher whose main focus is on the phenomenon of perception as a determinant of the relationship with reality.
\n„Ultrealith“ explores the sounds that exist on the periphery of human perception, such as underwater recordings (eg, fish songs, crustaceans, etc.), ultrasound (sonar of bats, dolphins and insects), electromagnetic signals among others. These recordings are from the Amazonian rainforest, Africa, Canadian Newfoundland, northern Australia and in various parts of Europe.
\nOn several tracks are relate with field recordings of animals, fish and insects, on which Kwi intervenes sounds with some digital processing, except on ‚Monochrome 1‘, where it is perceived the voice of the Father of minimalism John Cage’s, while on ‚Monochrome 2‘, it’s a juztaposici\u00f3n of voices and guitars which are recorded in a psychiatric unit in Dublin.<\/p>\n
\n\u00abUltrealith\u00bb – \u0441\u0431\u043e\u0440\u043d\u0438\u043a \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0446\u0438\u0439, \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u043b\u0435\u043d\u043d\u044b\u0435 \u0434\u043b\u044f \u0440\u0430\u0437\u043b\u0438\u0447\u043d\u044b\u0445 \u0438\u043d\u0441\u0442\u0430\u043b\u043b\u044f\u0446\u0438\u0439, \u0430 \u0442\u0430\u043a\u0436\u0435 \u0441\u043e\u043b\u044c\u043d\u044b\u0435 \u0440\u0430\u0431\u043e\u0442\u044b \u00abArtificial Memory Trace\u00bb, \u0441\u043e\u0437\u0434\u0430\u043d\u043d\u044b\u0435 \u043f\u0440\u0430\u043a\u0442\u0438\u0447\u0435\u0441\u043a\u0438 \u043d\u0430 \u00ab\u043f\u043e\u0434\u043d\u043e\u0436\u043d\u043e\u043c\u00bb \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u0435, \u043a\u043e\u0442\u043e\u0440\u044b\u0439 \u043a\u0430\u0436\u0434\u044b\u0439 \u0438\u0437 \u043d\u0430\u0441 \u043c\u043e\u0436\u0435\u0442 \u043d\u0430\u0439\u0442\u0438, \u0443\u0432\u0438\u0434\u0435\u0442\u044c \u0438 \u0443\u0441\u043b\u044b\u0448\u0430\u0442\u044c \u0432 \u043b\u044e\u0431\u043e\u0439 \u043c\u043e\u043c\u0435\u043d\u0442, \u043d\u043e \u0432\u043e\u0442 \u043f\u043e\u0447\u0435\u043c\u0443-\u0442\u043e \u043c\u0430\u0441\u0441\u0430 \u044d\u0442\u0438\u0445 \u0437\u0432\u0443\u043a\u043e\u0432 \u0442\u0430\u043a \u0438 \u043e\u0441\u0442\u0430\u0435\u0442\u0441\u044f \u043d\u0435\u0437\u0430\u043c\u0435\u0447\u0435\u043d\u043d\u043e\u0439, \u043f\u043e\u043a\u0430 \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u043d\u0430 \u043d\u0438\u0445 \u043d\u0435 \u043e\u0431\u0440\u0430\u0442\u044f\u0442 \u0442\u0430\u043a\u0438\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u0442\u0435\u043b\u0438, \u043a\u0430\u043a \u0421\u043b\u0430\u0432\u0435\u043a \u041a\u0432\u0438. \u0412 \u043e\u0442\u043b\u0438\u0447\u0438\u0435 \u043e\u0442 \u043c\u043d\u043e\u0433\u0438\u0445 \u043a\u043e\u043b\u043b\u0435\u0433 \u043f\u043e \u0446\u0435\u0445\u0443, \u0434\u043b\u044f \u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u043f\u043e\u043b\u0435\u0432\u044b\u0435 \u0437\u0430\u043f\u0438\u0441\u0438 \u0446\u0435\u043d\u043d\u044b \u0432 \u0447\u0438\u0441\u0442\u043e\u043c \u0432\u0438\u0434\u0435 \u0438 \u043f\u043e\u0437\u0432\u043e\u043b\u044f\u044e\u0442 \u043f\u0440\u0438\u0432\u043b\u0435\u0447\u044c \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u043a \u0440\u0430\u0437\u043b\u0438\u0447\u043d\u044b\u043c \u0430\u0441\u043f\u0435\u043a\u0442\u0430\u043c \u0431\u044b\u0442\u0438\u044f \u0438 \u0441\u043e\u043f\u0443\u0442\u0441\u0442\u0432\u0443\u044e\u0449\u0438\u043c \u0438\u043c \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430\u043c, \u0434\u043b\u044f \u041a\u0432\u0438 \u0433\u043e\u043b\u043e\u0441\u0430 \u044d\u043a\u0437\u043e\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0436\u0438\u0432\u043e\u0442\u043d\u044b\u0445, \u043d\u0430\u0441\u0435\u043a\u043e\u043c\u044b\u0445, \u043f\u0442\u0438\u0446, \u0437\u0432\u0443\u043a\u0438 \u043f\u0440\u0438\u0440\u043e\u0434\u044b \u0438 \u0431\u044b\u0442\u043e\u0432\u043e\u0439 \u0448\u0443\u043c \u2013 \u00ab\u0432\u0441\u0435\u0433\u043e \u043b\u0438\u0448\u044c\u00bb \u0441\u0442\u0440\u043e\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u0439 \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b, \u0438\u0437 \u043a\u043e\u0442\u043e\u0440\u043e\u0433\u043e \u0432 \u0438\u0442\u043e\u0433\u0435 \u043f\u043e\u043b\u0443\u0447\u0430\u044e\u0442\u0441\u044f \u043d\u0430\u0441\u0442\u043e\u044f\u0449\u0438\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u044b\u0435 (\u043a\u0430\u043a \u0431\u044b \u0441\u0442\u0440\u0430\u043d\u043d\u043e \u044d\u0442\u0430 \u043c\u0443\u0437\u044b\u043a\u0430 \u043d\u0435 \u0437\u0432\u0443\u0447\u0430\u043b\u0430) \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u044f \u0441\u043e \u0441\u0432\u043e\u0435\u0439 \u0434\u0440\u0430\u043c\u0430\u0442\u0443\u0440\u0433\u0438\u0435\u0439 (\u043a\u0430\u043a\u043e\u0439 \u0431\u044b \u0441\u0442\u0440\u0430\u043d\u043d\u043e\u0439 \u043e\u043d\u0430 \u043d\u0435 \u0431\u044b\u043b\u0430), \u043f\u0440\u0438\u0441\u0443\u0442\u0441\u0442\u0432\u0443\u044e\u0449\u0435\u0439 \u0432 \u043a\u0430\u0436\u0434\u043e\u043c \u0438\u0437 \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u043b\u0435\u043d\u043d\u044b\u0445 \u0442\u0440\u0435\u043a\u043e\u0432.<\/p>\n
\n<\/strong>Let\u2019s deconstruct a rainforest and rebuild it as a sound object. Let\u2019s walk into it, experience it and find a point where fragments of the modern world bleed in.<\/p>\n